Archive for May, 2024

The Black Rep Entertains with Energetic “Timbuktu!”

Posted in St Louis Theatre, tagged , , , , , , , , , , on May 25, 2024| Leave a Comment »

Timbuktu!
Book by Luther Davis
Music and Lyrics by Robert Wright and George Forrest
Directed by Ron Himes
Choreographed by Haley Rhiney
The Black Rep
May 17, 2024

Evann De-Bose, Duane Martin Foster, and Cast
Photo by Keshon Campbell
The Black Rep

The Black Rep’s latest production has a somewhat complex history. Timbuktu! is essentially a 1978 reworking of the 1953 Broadway musical Kismet, with the setting changed, a new book, and an all-Black cast featuring such notable names as Eartha Kitt and Melba Moore. As director Ron Himes noted on Opening Night, after a US tour in 1979 and a production by the Black Rep in 1985, this show seems to have faded into obscurity. Now, Himes and the Black Rep have brought the show back to the stage for a new audience and a new generation, with the result being an eye-catching, well-choreographed production highlighting its 14th Century West African setting and an enthusiastic cast, even though it still can come across as a bit dated at times.

I hadn’t seen this show or its precursor before, but based on reading the synopses, it seems like the story of Timbuktu! follows the plot of Kismet fairly closely, with a few small plot changes and a slight shift in character emphasis. It still features the well-known score by Robert Wright and George Forrest–which in turn was largely based on themes by composer Alexander Borodin–while also including two new songs for this adaptation. Set in the West African city of Timbuktu at the height of its influence in the 14th Century, the story follows two connected main plots featuring a wandering, financially struggling Poet (Duane Martin Foster) and his sweet-natured daughter, Marsinah (Evann De-Bose). Through the course of the show, the Poet manages to  get in trouble with the villainous and ambitious Wazir of Police (Drummond “Drum” Crenshaw) and attract the amorous attentions of the Wazir’s Wife of Wives, Sahleem-La-Luum (Amarachi Kalu). Meanwhile, the region’s young ruler, the Mansa (Dereis Lambert) is being encouraged to find a bride, and while the Wazir is pushing his own choices for selfish reasons, the Mansa goes out into the town in disguise and meets Marsinah, falling instantly in love, but not getting her name before going back to the palace and announcing he’s going to marry her. This announcement sets into motion a series of machinations, mix-ups, and musical numbers that eventually leads to a somewhat predictable conclusion.

The show itself is entertaining, although the comedy does have the air of a 1970’s variety sketch show at times, and some of the characters don’t have much complexity. The Wazir is something of a stock villain, for instance, but Crenshaw plays the role for all its scheming, conniving worth. Foster and De-Bose are especially strong as the Poet and Marsinah, with Foster’s stage presence and comic timing on clear display, and De-Bose giving a eminently likable, impressively-sung performance as the love-struck young woman. Kalu, as Sahleem-La-Luum, is also memorable, making the role her own and not trying to imitate the incomparable Eartha Kitt. Lambert has a good degree of charm as the Mansa, and good chemistry with De-Bose, lending credibility to their characters’ whirlwind romance. There’s a convincing supporting cast as well, and an energetic ensemble who make the most of Haley Rhiney’s memorable choreography.

The set, by Dunsi Dai, is versatile and evocative of the time and place, enhanced by Sean Savoie’s excellent lighting. There’s also excellent, detailed and colorful period costume design by Christie Chiyere Osi. The band, led by music director Colin Healy, is strong for the most part, although at times the music can drown out the singers, and it can be difficult to understand the lyrics to some of the solo numbers. Of special note is the on-stage, African-styled percussion work by Caph P. Guei, which punctuates the story and emphasizes the overall style, adding much energy to the show.

Timbuktu! does have something of an “old-fashioned musical/1970s comedy” vibe to it that makes it seem dated at times, although the performers are giving it their all, and the music–featuring classic songs like “Stranger in Paradise”–is memorable. It’s a fun show overall, making the most of its setting and performances. If you’re familiar with this show, or with Kismet, or even if you’re new to both shows, this production is worth checking out.

Cast of Timbuktu!
Photo by Keshon Campbell
The Black Rep

The Black Rep is presenting Timbuktu! at Washington University’s Edison Theatre until June 9, 2024

 

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Cleverly Staged “Spirits to Enforce” is a Tempest of Fun from The Midnight Company

Posted in St Louis Theatre, tagged , , , , , , , on May 9, 2024| Leave a Comment »

Spirits to Enforce
by Mickle Maher
Directed by Lucy Cashion
The Midnight Company
May 3, 2024

Cast of Spirits to Enforce
Photo by Joey Rumpell
The Midnight Company

Do you like Shakespeare and superheroes? Do you also like offbeat comedy with memorable character?  Well, if you answered “yes” to all of those questions, The Midnight Company has the show for you. Mickle Maher’s Spirits to Enforce is a hilarious, characterful mashup of Shakespeare’s The Tempest and a host of comic book tropes all put together in a cleverly staged, terrifically cast, and thoroughly entertaining production that packs a lot of energy and laughs into its relatively short running time.

The basic premise here is that a superhero group is raising money to put on a play. The Fathom Town Enforcers have just vanquished their arch enemy, Professor Cannibal, who has been jailed, and the town is, at last, at peace. At least, that’s what the Enforcers think. Now, in their underwater submarine base, they sit at a long table at old school landline phones, complete with long, tangly cords, calling up potential donors to fund their production of The Tempest. Their appeals seem to fall on skeptical ears, and they resort to tactics such as revealing their secret identities as an incentive to contribute. They also start rehearsals and the tensions and struggles among the group become obvious, as Emory Lawson/Ariel (Will Bonfiglio)–who may actually be the “real” Ariel of Tempest fame–struggles to figure out how to successfully play himself, Randall James/The Tune (Cassidy Flynn) becomes frustrated that his crush and romantic interest in the play (she’s Miranda to his Ferdinand), Susan Tanner/Memory Lass (Rachel Tibbetts) has memory powers but can’t seem to remember his real name. Meanwhile, Donna Blake/The Bad Map (Kayla Bush) keeps getting lost, Donna Adams/The Silhouette (Miranda Jagels Felix) deals with her living hand shadows getting out of hand, while the rest of cast all have their own unique problems contributing to difficulty in mounting the production, as well as continued trouble with the phone calls and their callers’ concern that Professor Cannibal may be on the loose once again. 

The cast also features Joe Hanrahan as Wayne Simon/The Untangler, Celeste Gardner as Oliver Kendall/Fragrance Fellow, Spencer Lawton as Dale Clark/the Intoxicator, Ross Rubright as Craig Cale/The Pleaser, Ash Arora as Rebecca Lloyd/The Ocean, Joey Taylor as Brad Allen/The Snow Heavy Branch (who is also the show’s musician), and Alicen Moser as Cecily Gray/The Page, who plays Prospero in The Tempest. The whole cast is cohesive and energetic, with strong comic timing and appropriately quirky characters and angsty moments as the story builds to a fun conclusion. It’s difficult to single out individual cast members, because everyone is strong, lending much character and enthusiasm to the proceedings that can get a little overly talky at times, but still hold the audience’s attention and provide for a witty, goofy, and literate production full of memorable performances and moments.

The staging is inventive and engaging despite the fact that the cast members spend most of their time seated at a long table. There’s enough “business” for them to do, as well as some creative staging that highlights their tight quarters and those ever-present tangly phone cords that keeps the interest going. The costume design by Liz Henning and Eric Widner is marvelous, as well, suiting the offbeat superhero characters with the right amount of style and quirky charm. Jayson Lawshee’s lighting also contributes well to the overall atmosphere and growing air of urgency as the story unfolds, and Taylor’s music adds a memorable soundtrack to the proceedings.

If you like offbeat superhero stories (think Dr. Horrible’s Sing-Along Blog, among others) and Shakespeare, Spirits to Enforce should be right up your alley. It’s a fun, character-driven piece highlighted by excellent performances and fun visuals. It’s another quirky success from The Midnight Company.

The Midnight Company is presenting Spirits to Enforce at the Kranzberg Arts Center until May 18, 2024

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Tesseract’s “Inheritance” is a Memorable Drama of Epic Proportions

Posted in St Louis Theatre, tagged , , , , , , , on May 9, 2024| Leave a Comment »

The Inheritance Part One and Part Two
by Matthew Lopez
Inspired by the Novel Howards End by E.M. Forster
Directed by Stephen Peirick
Tesseract Theatre Company
April 26 and May 2, 2024

Gabriel Paul, Chris Kernan
Photo by Florence Flick
Tesseract Theatre Company

I can’t think of a better word than “epic” to describe Tesseract Theatre Company’s latest production, the two-part, seven hour drama The Inheritance, which was performed over two weekends at the Marcelle Theatre. A somewhat loose adaptation and updating of an E.M. Forster classic, this story follows a group of gay men in New York City and explores generational differences, relationships, and legacies in a highly personal manner. At Tesseract, as directed by Stephen Peirick, this marathon theatrical experience boasts a first-rate cast and fascinating staging that held the audience’s attention through two full-length plays worth of gripping drama. 

Even though the program says this play was “inspired by” Forsters’ Howards End, and playwright Matthew Lopez certainly adapts that story to fit his own storytelling purpose, it follows the basic plot structure of its source novel surprisingly closely, especially in the thread that follows the earnest activist Eric Glass (Chris Kernan) and wealthy businessman Henry Wilcox (Jonathan Hey). As the story begins, Eric and his long-term boyfriend, aspiring writer Toby Darling (Gabriel Paul) are living in New York City and frequently hosting their various friends–all gay men of varying professions and personal aspirations. They soon become acquainted with Adam (Tyson Cole) who gets his shopping bag mixed up with Toby’s. The ambitious but secretive and hedonistic Toby soon becomes somewhat obsessed with Adam, who becomes the star of Toby’s new play. Eric, meanwhile, forms a friendship with his neighbor Walter (Alex C. Moore), an older, man who tells Eric stories and memories of his house in upstate New York that he bought with his partner Henry to be a retreat from the city, but eventually became a place for Walter to take care of his many friends who were dying as a result of the AIDS epidemic, while also becoming a point of contention between him and Henry. If you’ve read Howards’ End, or seen any of the filmed versions of the story, you probably know where this is going. 

Although this story is told in two parts that are both three act, full-length plays, it’s essentially one very long play that has to be broken up for time. It’s essentially a mini-series onstage, and Part Two continues the story, focusing more on Eric’s relationship with Henry as well as the important role that Walter’s house plays in the story. It also follows Toby’s story as he plunges into indulgence and excess, eventually reckoning with the past he’s tried to hide. We also get to know Leo (also Cole), who showed up in part one as a young man Toby pays for a sexual encounter, but later returns and becomes a major focus of the story. We also get to meet Margaret (Margery Handy), the caretaker of Walter’s house, who has a poignant story of her own. 

There’s a lot of story here, and a lot of focus on the differences in the lives of gay men of different generations and cultural backgrounds. E.M. Forster himself (also Moore) also appears as an influence on the story, but the characters have some challenges for him in terms of how he lived his life in a time when gay men couldn’t be as open about their lives as they can now. Many other issues are raised in dialogue, and there are some moments where characters seem to be reciting issues more than acting them out, but for the most part, this is an effecting, powerful piece of theatre that challenges perspectives, educates about important history, and expounds on the importance of connection, compassion, and legacy, especially among gay men. 

The cast is excellent, led by Kernan in a compelling, engaging turn as the idealistic but self-doubting Eric, Cole in a dual role as the rising star actor Adam and the struggling, intellectually curious Leo. Paul, in the difficult role of the self-destructive writer Toby, is also fantastic, making a character who is hard to like fascinating and sympathetic. There is also a strong turn from Moore in the dual role of E.M. Forster (who goes by “Morgan”) and Walter, making both characters compelling and memorable. He also shines as the somewhat prickly Henry, and Handy makes the most of her fairly short stage time with some terrific work as Margaret. The rest of the cast is also excellent, with Stephen Henley, Donald Kidd, Kevin O’Brien, Jacob Schmidt, Sean Seifert, Nic Tayborn, and  Kelvin Urday all turning in strong performances in a variety of roles and contributing to the overall ensemble chemistry in a convincing way.

The production design works well in maintaining the overall tone of the story, with a simple but effective set by director Peirick that adapts well to the various changes of time, place, and situation. Tony Anselmo’s lighting is especially impressive in conveying the various shifting moods of the story. There’s also excellent work from sound designer Jacob Baxley and dialect coach Mark Kelley.

This has been an especially ambitious undertaking by Tesseract, which has become more bold as of late, with their successful venture into musicals, as well as bigger productions in general. The Inheritance is a riveting, intelligent, emotional theatrical experience, with a strong sense of structure as well as an inventive use of its source material. Although it doesn’t always follow the plot of Howards End exactly, I found it especially helpful to know that story while watching this one. This was a marathon of a play, and a remarkable success for Tesseract Theatre Company.

Cast of The Inheritance ( in Part 2)
Photo by Florence Flick
Tesseract Theatre Company

 

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Dazzling “Moulin Rouge!” Glories in Excess at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , on May 3, 2024| Leave a Comment »

Moulin Rouge! The Musical
Book by John Logan
Based on the 2001 Twentieth Century Studios Motion Picture written by Baz Luhrmann and Craig Pearce, Directed by Baz Luhrmann
Directed by Alex Timbers
Choreographed by Sonya Tayeh
The Fox Theatre
May 1, 2024

Robert Petkoff and Cast
Photo by Matthew Murphy for MurphyMade
Moulin Rouge! The Musical US Tour

“Truth! Beauty! Freedom! Love!” The newest touring production onstage at the Fox, Moulin Rouge! The Musical, has all that and more, throwing everything it can onstage in terms of music, style, production values, intense emotions, and a seemingly endless list of pop music hits. Even though it’s not quite as dazzling as Broadway simply due to the limitations of touring, this show pulls out all the stops with impressive flair. The great cast is also a major selling point.

The show, based on Baz Luhrmann’s buzzy 2001 hit film, follows the same basic plot as the film but throws in a lot more music, including many songs that have become hits since the movie first came out. Pop hits from the 20th and 21st centuries along with some notable opera themes highlight this story set in late 19th Century Paris and centered around a group of ambitious artists and performers as the fabled Moulin Rouge venue. The love story of aspiring songwriter Christian (Christian Douglas) and Moulin Rouge headliner Satine (Gabrielle McClinton) features humor, romance, melodrama, tragedy, and a heavy dose of idealism. It’s also a celebration of the performing arts and art in general, with Christian and his compatriots Toulouse-Lautrec (Nick Rashad Burroughs) and Santiago (Danny Burgos), along with the performers at the club and emcee Harold Zidler (Robert Petkoff) rehearsing a new show and struggling to keep the venue alive. Of course, there’s also the villain, the self-centered and possessive Duke of Monroth (Andrew Brewer), who insists on controlling the club–and Satine–for his own interests. 

Even though there is a plot, that’s not what drives this show ultimately. It’s all about spectacle, the chemistry of the performers, and all those songs performed with appropriate intensity and over-the-top style. The cast is great, for the most part, led by the charmingly optimistic Douglas as Christian, whose strong vocals and likable stage presence hold attention–along with McClinton in an excellent turn as the talented and tragic Satine. These two light up the stage with their chemistry. Petkoff as Zidler is also impressive, as is Burroughs as a particularly sympathetic Toulouse-Lautrec, and Burgos as the humorously bold Santiago. Sarah Bowden also stands out, making the most of a smaller role as Nini, one of the club’s more prominent performers. Brewer makes the most of his role as Duke even though the character doesn’t have much in the way of depth. There’s also a fantastic ensemble of singers and dancers backing up the leads, filling out the spectacular production numbers and adding appropriate pizzazz to Sonya Tayeh’s sparkling choreography.

Physically, the show looks great as well, if not quite as grand as it did on Broadway when the set was built into the theatre for a more immersive experience. This is a tour, though, so that immersion factor is a bit limited, although Derek McLane’s flashy, stylish set fits in well at the Fox and matches the overall style of the theatre. The costumes are also superb, designed by Catherine Zuber to fit in with the fashions of the era with a bold range of colors and textures. There’s also dazzling lighting by Justin Townsend and impressive sound by Peter Hylenski, as well as an excellent orchestra led by music director Andrew Graham. The look, atmosphere, and overall vibe of the show echoes the film, but doesn’t exactly copy it, and that works well considering the transition to a theatrical setting.

If you saw the movie, you will definitely notice changes, especially in terms of the music. Although prominent songs such a “Your Song”, “Nature Boy”, and the original (for the film) “Come What May” are still prominently featured, there are many new hits added to the mix, some of which are more heavily features with some showing up for only a few lines. The music and overall style of this show are the stars here, with the strong cast giving their all and providing for a deliciously over-the-top experience at the theatre. 

Christian Douglas, Gabrielle McClinton
Photo by Matthew Murphy for MurphyMade
Moulin Rouge! The Musical US Tour

The US tour of Moulin Rouge! The Musical is running at the Fox Theatre until May 12, 2024

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